The Notebooks of Leonardo Da Vinci — Complete

da Vinci Leonardo

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Text from Project Gutenberg eBook #5000, in the public domain.

Chapters

1.Volume 1original only · 1 min
2.Prefaceoriginal only · 13 min
3.Prolegomena and General Introduction to the Book on Paintingoriginal only · 1 min
4.Linear Perspectiveoriginal only · 1 min
5.Six Books on Light and Shadeoriginal only · 2 min
6.Perspective of Disappearanceoriginal only · 1 min
7.Theory of Coloursoriginal only · 1 min
8.Perspective of Colour and Aerial Perspectiveoriginal only · 1 min
9.On the Proportions and on the Movements of the Human Figureoriginal only · 1 min
10.Botany for Painters, and Elements of Landscape Paintingoriginal only · 1 min
11.The Practice of Paintingoriginal only · 2 min
12.Studies and Sketches for Pictures and Decorationsoriginal only · 5 min
13.Introductionoriginal only · 1 min
14.Introductionoriginal only · 2 min
15.Introductionoriginal only · 2 min
16.Introductionoriginal only · 3 min
17.On the Three Branches of Perspectiveoriginal only · 1 min
18.On Painting and Perspectiveoriginal only · 1 min
19.The Discourse on Paintingoriginal only · 1 min
20.On the Sections of [the Book On] Paintingoriginal only · 2 min
21.Of the Mistakes Made by Those Who Practise Without Knowledgeoriginal only · 1 min
22.Introduction to Perspective:—That Is of the Function of the Eyeoriginal only · 1 min
23.Of the 10 Attributes of the Eye, All Concerned in Paintingoriginal only · 1 min
24.On Paintingoriginal only · 1 min
25.Of the Eyeoriginal only · 1 min
26.Of the Eyeoriginal only · 1 min
27.On Paintingoriginal only · 3 min
28.On Paintingoriginal only · 1 min
29.On Perspectiveoriginal only · 3 min
30._iioriginal only · 3 min
31.On Paintingoriginal only · 1 min
32.Of the Natural Pointoriginal only · 1 min
33.Definition of the Nature of the Lineoriginal only · 1 min
34.How We May Conclude That a Superficies Terminates in a Point?original only · 1 min
35.Of Drawing Outlineoriginal only · 3 min
36.In What Way the Eye Sees Objects Placed in Front of Itoriginal only · 3 min
37.Perspectiveoriginal only · 1 min
38.To Prove How Objects Reach the Eyeoriginal only · 1 min
39.Elements of Perspectiveoriginal only · 6 min
40.Perspectiveoriginal only · 4 min
41.Perspectiveoriginal only · 8 min
42.Prove How All Objects, Placed in One Position, Are All Everywhere and All in Each Partoriginal only · 2 min
43.How the Images of Objects Received by the Eye Intersect Within the Crystalline Humour of the Eyeoriginal only · 2 min
44.The Principle on Which the Images of Bodies Pass in Between the Margins of the Openings by Which They Enteroriginal only · 1 min
45.Of the Movement of the Edge at the Right or Left, or the Upper, or Lower Edgeoriginal only · 2 min
46.Of the Central Line of the Eyeoriginal only · 1 min
47.As to Whether the Central Line of the Image Can Be Intersected, or Not, Within the Openingoriginal only · 1 min
48.How the Innumerable Rays from Innumerable Images Can Converge to a Pointoriginal only · 4 min
49.Of the Plane of Glassoriginal only · 1 min
50.Perspectiveoriginal only · 1 min
51.Perspectiveoriginal only · 1 min
52.Perspectiveoriginal only · 1 min
53.Perspectiveoriginal only · 3 min
54.Simple Perspectiveoriginal only · 1 min
55.Perspectiveoriginal only · 1 min
56.Why When an Object Is Placed Close to the Eye Its Edges Are Indistinctoriginal only · 1 min
57.Perspectiveoriginal only · 1 min
58.Perspectiveoriginal only · 1 min
59.Perspectiveoriginal only · 1 min
60.Perspectiveoriginal only · 1 min
61.Perspectiveoriginal only · 1 min
62.Perspectiveoriginal only · 1 min
63.Perspective—Propositionoriginal only · 1 min
64.Definitionoriginal only · 1 min
65.Of Linear Perspectiveoriginal only · 2 min
66.Of the Diminution of Objects at Various Distancesoriginal only · 1 min
67.Of the Degrees of Diminutionoriginal only · 1 min
68.I Give the Degrees of the Objects Seen by the Eye As the Musician Does the Notes Heard by the Earoriginal only · 1 min
69.Perspectiveoriginal only · 1 min
70.Perspectiveoriginal only · 1 min
71.Of Equal Objects the Most Remote Look the Smallestoriginal only · 3 min
72.Of a Mixture of Natural and Artificial Perspectiveoriginal only · 2 min
73.IIIoriginal only · 2 min
74.General Introductionoriginal only · 1 min
75.Introductionoriginal only · 2 min
76.Of Paintingoriginal only · 1 min
77.Of Paintingoriginal only · 1 min
78.Of Paintingoriginal only · 1 min
79.Of the Three Kinds of Light That Illuminate Opaque Bodiesoriginal only · 1 min
80.Of Lightoriginal only · 1 min
81.What Light and Shadow Areoriginal only · 1 min
82.Of the Nature of Shadoworiginal only · 1 min
83.What Is the Difference Between a Shadow That Is Inseparable from a Body and a Cast Shadow?original only · 1 min
84.How There Are 2 Kinds of Light, One Separable From, and the Other Inseparable from Bodiesoriginal only · 1 min
85.Memorandum of Things I Require to Have Granted [as Axioms] in My Explanation of Perspectiveoriginal only · 1 min
86.First Book on Light and Shadeoriginal only · 4 min
87.The Rays Whether Shaded or Luminous Have Greater Strength and Effect at Their Points Than at Their Sidesoriginal only · 1 min
88.Of the Highest Lights Which Turn and Move As the Eye Moves Which Sees the Objectoriginal only · 1 min
89.Of Paintingoriginal only · 1 min
90.Of Light and Lustreoriginal only · 1 min
91.What Bodies Have Light Upon Them Without Lustre?original only · 1 min
92.What Bodies Will Display Lustre But Not Look Illuminated?original only · 1 min
93.Shows How Light from Any Side Converges to One Pointoriginal only · 4 min
94.Of the Different Light and Shade in Various Aspects and of Objects Placed in Themoriginal only · 1 min
95.Of Paintingoriginal only · 1 min
96.Second Book on Light and Shadeoriginal only · 1 min
97.That Portion of a Body in Light and Shade Will Be Least Luminous Which Is Seen Under the Least Amount of Lightoriginal only · 4 min
98.Of Perspectiveoriginal only · 1 min
99.Of Paintingoriginal only · 1 min
100.Of Paintingoriginal only · 1 min
101.Third Book on Light and Shadeoriginal only · 1 min
102.Shadow and Lightoriginal only · 1 min
103.Of Simple Derived Shadowsoriginal only · 1 min
104.Of Compound Derived Shadowsoriginal only · 1 min
105.Of Shadoworiginal only · 2 min
106.How a Cast Shadow Can Never Be of the Same Size As the Body That Casts Itoriginal only · 1 min
107.Of the Pyramidal Shadoworiginal only · 1 min
108.All Bodies, in Proportion As They Are Nearer To, or Farther from the Source of Light, Will Produce Longer or Shorter Derived Shadowsoriginal only · 1 min
109.Of Paintingoriginal only · 3 min
110.The Farther the Derived Shadow Is Prolonged the Lighter It Becomesoriginal only · 1 min
111.On Paintingoriginal only · 1 min
112.How Shadows Fade Away at Long Distancesoriginal only · 1 min
113.Of the Compound Shadow F, R, C, H Caused by a Single Lightoriginal only · 1 min
114.The Action of the Light As from Its Centreoriginal only · 1 min
115.Prooforiginal only · 1 min
116.Of the Shadow Cast by a Body Placed Between 2 Equal Lightsoriginal only · 2 min
117.Of Simple Shadowsoriginal only · 1 min
118.Answeroriginal only · 2 min
119.Definitionoriginal only · 2 min
120.How and When the Surroundings in Shadow Mingle Their Derived Shadow with the Light Derived from the Luminous Bodyoriginal only · 1 min
121.Fourth Book on Light and Shadeoriginal only · 3 min
122.Of Shadows Which Never Come to an Endoriginal only · 1 min
123.The Body Which Is Nearest to the Light Casts the Largest Shadow, and Why?original only · 1 min
124.Why a Shadow Larger Than the Body That Produces It Becomes Out of Proportionoriginal only · 1 min
125.Why a Shadow Which Is Larger Than the Body Causing It Has Ill-Defined Outlinesoriginal only · 1 min
126.Of Modified Shadowsoriginal only · 1 min
127.Of the Opinion of Some That a Triangle Casts No Shadow on a Plane Surfaceoriginal only · 2 min
128.Fifth Book on Light and Shadeoriginal only · 1 min
129.Of the Way in Which the Shadows Cast by Objects Ought to Be Definedoriginal only · 1 min
130.Of Reverberationoriginal only · 1 min
131.Where There Can Be No Reflected Lightsoriginal only · 1 min
132.Perspectiveoriginal only · 1 min
133.The Mirrororiginal only · 2 min
134.Of the Shadow and Its Motionoriginal only · 1 min
135.Of the Motion of Shadowsoriginal only · 1 min
136.Sixth Book on Light and Shadeoriginal only · 1 min
137.Perspectiveoriginal only · 5 min
138.That Part of the Reflection Will Be Brightest Where the Reflected Rays Are Shortestoriginal only · 4 min
139.IVoriginal only · 1 min
140.Of the Diminished Distinctness of the Outlines of Opaque Bodiesoriginal only · 1 min
141.Of the Diminution in Perspective of Opaque Objectsoriginal only · 3 min
142.Of the Atmosphere That Interposes Between the Eye and Visible Objectsoriginal only · 1 min
143.Of the Eyeoriginal only · 1 min
144.Of Paintingoriginal only · 1 min
145.Perspectiveoriginal only · 1 min
146.Perspectiveoriginal only · 1 min
147.Of Paintingoriginal only · 1 min
148.Of Paintingoriginal only · 1 min
149.Of Light and Shadeoriginal only · 1 min
150.Of Ordinary Perspectiveoriginal only · 1 min
151.Of Lightoriginal only · 1 min
152.Of Lightoriginal only · 1 min
153.Of Lightoriginal only · 1 min
154.Why Bodies in Light and Shade Have Their Outlines Altered by the Colour and Brightness of the Objects Serving As a Background to Themoriginal only · 1 min
155.On Light Between Shadowsoriginal only · 1 min
156.To Prove How It Is That Luminous Bodies Appear Larger, at a Distance, Than They Areoriginal only · 1 min
157.To Prove How You May See the Real Size of Luminous Bodiesoriginal only · 1 min
158.Perspectiveoriginal only · 2 min
159.Different Portions of a Wall Surface Will Be Darker or Brighter in Proportion As the Light or Shadow Falls on Them at a Larger Angleoriginal only · 1 min
160.Voriginal only · 1 min
161.Of Paintingoriginal only · 1 min
162.Of Shadoworiginal only · 1 min
163.Of Light and Shadeoriginal only · 1 min
164.Exampleoriginal only · 1 min
165.Of Paintingoriginal only · 1 min
166.Of the Rays Which Convey Through the Air the Images of Objectsoriginal only · 1 min
167.Of Paintingoriginal only · 2 min
168.Of the Intersections of the Images in the Pupil of the Eyeoriginal only · 1 min
169.Of the Nature of the Rays Composed of the Images of Objects, and of Their Intersectionsoriginal only · 1 min
170.Any Shadow Cast by an Opaque Body Smaller Than the Light Causing the Shadow Will Throw a Derived Shadow Which Is Tinged by the Colour of the Lightoriginal only · 1 min
171.Of the Colours of Simple Derived Shadowsoriginal only · 2 min
172.Of Paintingoriginal only · 1 min
173.Of Coloursoriginal only · 1 min
174.Perspectiveoriginal only · 1 min
175.Perspectiveoriginal only · 1 min
176.Perspectiveoriginal only · 1 min
177.Perspectiveoriginal only · 1 min
178.Perspectiveoriginal only · 1 min
179.What Portion of a Coloured Surface Ought in Reason to Be the Most Intenseoriginal only · 1 min
180.Why Beautiful Colours Must Be in the [highest] Lightoriginal only · 1 min
181.Of Paintingoriginal only · 1 min
182.The Adversaryoriginal only · 1 min
183.The Answeroriginal only · 2 min
184.That the Eye Has No Part in Producing the Colours of the Rainboworiginal only · 1 min
185.Of the Colours in the Feathers of Certain Birdsoriginal only · 1 min
186.VIoriginal only · 1 min
187.Of the Visibility of Coloursoriginal only · 1 min
188.All Colours Are at a Distance Undistinguishable and Undiscernibleoriginal only · 1 min
189.How a Painter Should Carry Out the Perspective of Colour in Practiceoriginal only · 2 min
190.Of Aerial Perspectiveoriginal only · 2 min
191.Why the Atmosphere Must Be Represented As Paler Towards the Lower Portionoriginal only · 1 min
192.Of the Mode of Treating Remote Objects in Paintingoriginal only · 1 min
193.Of the Colour of the Atmosphereoriginal only · 8 min
194.307. Of Paintingoriginal only · 1 min
195.VIIoriginal only · 35 min
196.Of Paintingoriginal only · 1 min
197.Of the Motions of the Fingersoriginal only · 2 min
198.Of the Loins, When Bentoriginal only · 1 min
199.Of Paintingoriginal only · 1 min
200.Of [change Of] Attitudeoriginal only · 1 min
201.Of Paintingoriginal only · 2 min
202.Of the Different Measurements of Boys and Menoriginal only · 1 min
203.Of Paintingoriginal only · 1 min
204.Of Paintingoriginal only · 1 min
205.Of the Agreement of the Proportion of the Limbsoriginal only · 1 min
206.How Young Boys Have Their Joints Just the Reverse of Those of Men, As to Sizeoriginal only · 3 min
207.Of Drawingoriginal only · 3 min
208.Of the Human Body in Actionoriginal only · 1 min
209.Of Paintingoriginal only · 1 min
210.Of the Strength of Manoriginal only · 4 min
211.Of the Nature of the Folds in Draperyoriginal only · 1 min
212.Exampleoriginal only · 1 min
213.Of Small Folds in Draperiesoriginal only · 2 min
214.VIIIoriginal only · 3 min
215.Treesoriginal only · 2 min
216.Of the Scars on Treesoriginal only · 1 min
217.Of the Ramificationoriginal only · 1 min
218.Why, Very Frequently, Timber Has Veins That Are Not Straightoriginal only · 1 min
219.Of the Ramifications of Plantsoriginal only · 4 min
220.Of the Insertion of the Branches on Plantsoriginal only · 2 min
221.A Description of the Elmoriginal only · 2 min
222.Of the Insertion of the Leaves on the Branchesoriginal only · 1 min
223.Of the Ramifications of Trees and Their Foliageoriginal only · 2 min
224.Light on Branches and Leaves (420—422)original only · 1 min
225.Of the Accidents of Colouring in Treesoriginal only · 1 min
226.Of the Visibility of These Accidentsoriginal only · 1 min
227.Of the Shadows of a Leaforiginal only · 5 min
228.Of Dark Leaves in Front of Transparent Onesoriginal only · 1 min
229.Of the Lights on Dark Leavesoriginal only · 1 min
230.Of the Lights on Leaves of a Yellowish Greenoriginal only · 1 min
231.Of a Generally Distributed Light As Lighting Up Treesoriginal only · 1 min
232.Of the Shadows of Verdureoriginal only · 1 min
233.Of the Illuminated Part of Verdure and of Mountainsoriginal only · 1 min
234.Of Trees That Are Lighted by the Sun and by the Atmosphereoriginal only · 1 min
235.Of Depicting a Forest Sceneoriginal only · 1 min
236.On Paintingoriginal only · 2 min
237.Of the Herbs of the Fieldoriginal only · 1 min
238.Of Trees Which Are Between the Eye and the Lightoriginal only · 1 min
239.From Whence to Depict a Landscapeoriginal only · 1 min
240.Of Trees to the Southoriginal only · 1 min
241.Of Meadowsoriginal only · 1 min
242.Of the 4 Points of the Compass [in Landscapesoriginal only · 1 min
243.Of Trees in the Eastoriginal only · 1 min
244.Of the Shadows in Treesoriginal only · 1 min
245.Of Trees to the Eastoriginal only · 1 min
246.Objects in High Light Show But Little, But Between Light and Shadow They Stand Out Welloriginal only · 1 min
247.Of the Spaces [showing the Sky] in Trees Themselvesoriginal only · 1 min
248.Of Trees Which Conceal These Spaces in One Anotheroriginal only · 1 min
249.Of Treesoriginal only · 3 min
250.Trees at a Short Distanceoriginal only · 5 min
251.Of Trees and Lights on Themoriginal only · 1 min
252.Of Paintingoriginal only · 1 min
253.Of Painting in a Landscapeoriginal only · 1 min
254.Of Landscapesoriginal only · 1 min
255.Of Light and Shadow in a Townoriginal only · 2 min
256.Of Towns or Other Buildings Seen in the Evening or the Morning Through the Mistoriginal only · 1 min
257.Why Objects Which Are High Up and at a Distance Are Darker Than the Lower Ones, Even If the Mist Is Uniformly Denseoriginal only · 1 min
258.Of the Smoke of a Townoriginal only · 1 min
259.Of Smoke and Dustoriginal only · 1 min
260.Of Representing Windoriginal only · 1 min
261.The Windoriginal only · 3 min
262.Of Clouds, Smoke and Dust and the Flames of a Furnace or of a Burning Kilnoriginal only · 2 min
263.IXoriginal only · 4 min
264.Moral Precepts for the Student of Paintingoriginal only · 1 min
265.A Warning Concerning Youths Wishing to Be Paintersoriginal only · 1 min
266.Of the Order of Learning to Draworiginal only · 1 min
267.Precepts for Drawingoriginal only · 1 min
268.Of Drawingoriginal only · 2 min
269.Of Paintingoriginal only · 1 min
270.How It Is Necessary to a Painter That He Should Know the Intrinsic Forms [structure] of Manoriginal only · 1 min
271.Of Study and the Order of Studyoriginal only · 2 min
272.What Rules Should Be Given to Boys Learning to Paintoriginal only · 1 min
273.How That Diligence [accuracy] Should First Be Learnt Rather Than Rapid Executionoriginal only · 1 min
274.Of the Life of the Painter in the Countryoriginal only · 1 min
275.Of the Life of the Painter in His Studiooriginal only · 1 min
276.Of Whether It Is Better to Draw with Companions or Notoriginal only · 1 min
277.Of Studying, in the Dark, When You Wake, or in Bed Before You Go to Sleeporiginal only · 1 min
278.Of the Time for Studying Selection of Subjectsoriginal only · 1 min
279.Of Positionsoriginal only · 1 min
280.That a Painter Is Not Admirable Unless He Is Universaloriginal only · 1 min
281.Of the Miserable Pretences Made by Those Who Falsely and Unworthily Acquire the Name of Paintersoriginal only · 1 min
282.How, in Important Works, a Man Should Not Trust Entirely to His Memory Without Condescending to Draw from Natureoriginal only · 1 min
283.Of Variety in the Figuresoriginal only · 1 min
284.How Something May Be Learnt Everywhereoriginal only · 1 min
285.Of the Means of Acquiring Universalityoriginal only · 1 min
286.Paintingoriginal only · 1 min
287.Of Games to Be Played by Those Who Draworiginal only · 1 min
288.A Way of Developing and Arousing the Mind to Various Inventionsoriginal only · 1 min
289.The Artist's Studio.—Instruments and Helps for the Application of Perspective.—On Judging of a Pictureoriginal only · 1 min
290.Of the Painter's Window and Its Advantageoriginal only · 1 min
291.Of the Quality of the Lightoriginal only · 1 min
292.That the Light for Drawing from Nature Should Be High Uporiginal only · 1 min
293.The Kind of Light Requisite for Painting Light and Shadeoriginal only · 1 min
294.Of Small Lightsoriginal only · 1 min
295.Paintingoriginal only · 1 min
296.Of the Quality of Lightoriginal only · 1 min
297.Of Selecting the Light Which Gives Most Grace to Facesoriginal only · 1 min
298.Of Drawing an Objectoriginal only · 1 min
299.Of a Mode of Drawing a Place Accuratelyoriginal only · 1 min
300.How to Learn to Place Your Figures Correctlyoriginal only · 2 min
301.A Method of Drawing an Object in Relief at Nightoriginal only · 2 min
302.To Draw a Figure on a Wall 12 Braccia High Which Shall Look 24 Braccia Highoriginal only · 3 min
303.How the Mirror Is the Master [and Guide] of Paintersoriginal only · 1 min
304.Of Judging Your Own Picturesoriginal only · 1 min
305.Of a Method of Learning Well by Heartoriginal only · 1 min
306.That a Painter Ought to Be Curious to Hear the Opinions of Every One on His Workoriginal only · 1 min
307.How in Small Objects Errors Are Less Evident Than in Large Onesoriginal only · 1 min
308.Why a Painting Can Never Appear Detached As Natural Objects Dooriginal only · 2 min
309.Why of Two Objects of Equal Size a Painted One Will Look Larger Than a Solid Oneoriginal only · 1 min
310.How High the Point of Sight Should Be Placedoriginal only · 1 min
311.Of the Way to Draw Figures for Historical Picturesoriginal only · 1 min
312.Of Placing a Figure in the Foreground of a Historical Pictureoriginal only · 1 min
313.Perspectiveoriginal only · 1 min
314.Of Paintingoriginal only · 1 min
315.Of Drawing from Relieforiginal only · 1 min
316.Why Groups of Figures One Above Another Are to Be Avoidedoriginal only · 1 min
317.A Picture of Objects in Perspective Will Look More Lifelike When Seen from the Point from Which the Objects Were Drawnoriginal only · 5 min
318.Of Paintingoriginal only · 1 min
319.Where a Spectator Should Stand to Look at a Pictureoriginal only · 1 min
320.The Practical Methods of Light and Shade and Aerial Perspectiveoriginal only · 1 min
321.Of Painting: Of the Darkness of the Shadows, or I May Say, the Brightness of the Lightsoriginal only · 1 min
322.How the Painter Must Place Himself with Reference to the Light, to Give the Effect of Relieforiginal only · 1 min
323.That Shadows Cast by a Particular Light Should Be Avoided, Because They Are Equally Strong at the Ends and at the Beginningoriginal only · 1 min
324.How Light Should Be Thrown Upon Figuresoriginal only · 1 min
325.Of Helping the Apparent Relief of a Picture by Giving It Artificial Light and Shadeoriginal only · 1 min
326.Of Situationoriginal only · 1 min
327.Of the Judgment to Be Made of a Painter's Workoriginal only · 1 min
328.Of the Treatment of the Lightsoriginal only · 1 min
329.Of Shadows on Bodiesoriginal only · 1 min
330.Of Lights and Shadowsoriginal only · 1 min
331.Of the Way to Make the Shadow on Figures Correspond to the Light and to [the Colour] of the Bodyoriginal only · 1 min
332.Of Surrounding Bodies by Various Forms of Shadoworiginal only · 1 min
333.On Paintingoriginal only · 1 min
334.Of Shadowsoriginal only · 1 min
335.Of the Backgrounds for Painted Figuresoriginal only · 1 min
336.Of the Background That the Painter Should Adopt in His Worksoriginal only · 1 min
337.How White Bodies Should Be Representedoriginal only · 1 min
338.Why Faces [seen] at a Distance Look Darkoriginal only · 1 min
339.Why a Man Seen at a Certain Distance Is Not Recognisableoriginal only · 1 min
340.The Reason Why Small Figures Should Not Be Made Finishedoriginal only · 1 min
341.Of Paintingoriginal only · 1 min
342.Of Portrait and Figure Paintingoriginal only · 1 min
343.Of the Way to Learn to Compose Figures [in Groups] in Historical Picturesoriginal only · 1 min
344.Of a Method of Keeping in Mind the Form of a Faceoriginal only · 1 min
345.How You Should Set to Work to Draw a Head of Which All the Parts Shall Agree with the Position Given to Itoriginal only · 1 min
346.How to Know Which Side of an Object Is to Be More or Less Luminous Than the Otheroriginal only · 1 min
347.The Proof and Reason Why Among the Illuminated Parts Certain Portions Are in Higher Light Than Othersoriginal only · 1 min
348.Precepts in Paintingoriginal only · 2 min
349.That a Figure Is Not Admirable Unless It Expresses by Its Action the Passion of Its Sentimentoriginal only · 1 min
350.How an Angry Man Is to Be Figuredoriginal only · 1 min
351.How to Represent a Man in Despairoriginal only · 1 min
352.How You Should Make an Imaginary Animal Look Naturaloriginal only · 1 min
353.Of the Delusions Which Arise in Judging of the Limbsoriginal only · 1 min
354.Of the Selection of Beautiful Facesoriginal only · 1 min
355.Of the Muscles of Animalsoriginal only · 1 min
356.Of Undulating Movements and Equipoise in Figures and Other Animalsoriginal only · 1 min
357.Of Grace in the Limbsoriginal only · 3 min
358.Of Representing a Man Speaking to a Multitudeoriginal only · 2 min
359.Of the Disposition of Limbsoriginal only · 2 min
360.Of Paintingoriginal only · 1 min
361.Of Paintingoriginal only · 1 min
362.Of Paintingoriginal only · 1 min
363.Of Setting on the Limbsoriginal only · 1 min
364.Of the Action of the Figuresoriginal only · 1 min
365.Suggestions for Compositionsoriginal only · 1 min
366.Of the Way of Representing a Battleoriginal only · 5 min
367.Of Lighting the Lower Parts of Bodies Close Together, As of Men in Battleoriginal only · 1 min
368.Of the Way to Represent a Night [sceneoriginal only · 1 min
369.How to Represent a Tempestoriginal only · 2 min
370.To Represent the Delugeoriginal only · 1 min
371.Of the Deluge and How to Represent It in a Pictureoriginal only · 7 min
372.Description of the Delugeoriginal only · 8 min
373.The Artist's Materialsoriginal only · 1 min
374.Paper for Drawing Upon in Black by the Aid of Your Spittleoriginal only · 4 min
375.A Fine Yelloworiginal only · 1 min
376.Whiteoriginal only · 1 min
377.The Proportions of Coloursoriginal only · 1 min
378.To Prepare a Panel for Painting onoriginal only · 1 min
379.Oiloriginal only · 1 min
380.To Remove the Smell of Oiloriginal only · 1 min
381.To Restore Oil Colours That Have Become Dryoriginal only · 1 min
382.Oiloriginal only · 2 min
383.Varnish [or Powderoriginal only · 1 min
384.Varnish [or Powderoriginal only · 1 min
385.Varnish [or Powderoriginal only · 1 min
386.Varnish [or Powderoriginal only · 1 min
387.Mould(?)original only · 1 min
388.To Dilute White Wine and Make It Purpleoriginal only · 1 min
389.Fireoriginal only · 1 min
390.Fireoriginal only · 1 min
391.Fireoriginal only · 1 min
392.Philosophy and History of the Art of Paintingoriginal only · 1 min
393.He Who Despises Painting Loves Neither Philosophy Nor Natureoriginal only · 1 min
394.That Painting Surpasses All Human Works by the Subtle Considerations Belonging to Itoriginal only · 4 min
395.That Sculpture Is Less Intellectual Than Painting, and Lacks Many Characteristics of Natureoriginal only · 4 min
396.Of Paintingoriginal only · 1 min
397.That Painting Declines and Deteriorates from Age to Age, When Painters Have No Other Standard Than Painting Already Doneoriginal only · 2 min
398._xoriginal only · 28 min
399.Christoriginal only · 17 min
400.Truthoriginal only · 1 min
401.To Represent Ingratitudeoriginal only · 2 min
402.A Dress for the Carnivaloriginal only · 1 min
403.Volume 2original only · 1 min
404.XI. (1)original only · 25 min
405.XI. (2)original only · 25 min
406.XI. (3)original only · 25 min
407.XI. (4)original only · 25 min
408.XI. (5)original only · 25 min
409.XI. (6)original only · 25 min
410.XI. (7)original only · 25 min
411.XI. (8)original only · 25 min
412.XI. (9)original only · 25 min
413.XI. (10)original only · 25 min
414.XI. (11)original only · 25 min
415.XI. (12)original only · 26 min
416.XI. (13)original only · 25 min
417.XI. (14)original only · 26 min
418.XI. (15)original only · 26 min
419.XI. (16)original only · 25 min
420.XI. (17)original only · 25 min
421.XI. (18)original only · 25 min
422.XI. (19)original only · 25 min
423.XI. (20)original only · 25 min
424.XI. (21)original only · 25 min
425.XI. (22)original only · 26 min
426.XI. (23)original only · 25 min
427.XI. (24)original only · 25 min
428.XI. (25)original only · 25 min
429.XI. (26)original only · 25 min
430.XI. (27)original only · 19 min
431.Section title: Notes on books and authors * There are characters present in the original footnotes that have accents - I have placed an asterisk next to themoriginal only · 30 min